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Movie soundtracks

Otta

By Otta
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*Bob*

*Bob*

Posted
Posted
I suspect in The Olde Days the 'help' were mostly occupied by the physical requirements of writing out the scores neatly, making corrections and additions - and then making copies - not being given a topline and some chords - and being asked to fill-in the orchestra!
Kingy

Kingy

Posted
Posted
CAN - "She Brings the Rain", originally appearing in the 1969 film Bottom ? Ein gro?er, graublauer Vogel by Thomas Schamoni (brother to directors Ulrich Schamoni and Peter Schamoni), was later featured in Wim Wenders' 1994 film Lisbon Story, the 2000 Oskar Roehler film Die Unber?hrbare and Tran Anh Hung's film Norwegian Wood, released in 2010.
Kingy

Kingy

Posted
Posted

Can's music has been used in edgier but more accessible movies ever since. Keyboardist Irmin Schmidt went on to produce scores of scores, including Wim Wenders's Alice in the Cities. Wenders used She Brings the Rain in Lisbon Story, as did Oskar Roehler in his 2000 film No Place to Go. And the band reunited to do a track for Wenders's Until the End of the World. There's also a lot of Can in Lynne Ramsay's Morvern Callar (the book was dedicated to bassist Holger Czukay), and their funky Vitamin C cropped up in Pedro Almodovar's Broken Embraces. Apparently Can's biggest earner, though, was the track Spoon, which was adopted by hit German TV cop show Das Messer.


The good news is that the best of those "lost" movies featuring music from Can Soundtracks is available for the first time. This is Jerzy Skolimowski's Deep End. A teen drama set in a swimming baths at the end of Swinging London, it features the most legendary song on Can Soundtracks: Mother Sky, which plays as the hero trawls through sleazy Soho, steals a cardboard cut-out, makes the acquaintance of a prostitute with a broken leg and buys a hotdog from Burt Kwouk. Mother Sky is quintessential Can: a mighty 15-minute psychedelic wig-out with crazy screeching guitar, minimalist bassline, clockwork drumming and indecipherable Damo Suzuki chanting. It's garage punk with a longer attention span, math rock with a human soul, and prog without the self-indulgence. Nobody could get away with that now, not even Radiohead.

Otta

Otta

Posted
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Posted

Huguenot Wrote:

-------------------------------------------------------

> What's the difference between a soundtrack and a

> score?



Soundtrack = A collection of music / songs that were not written for the film. (Pulp Fiction / Forest Gump)


Score = Music written for the film. (Star Wars / Last of the mohicans)

Jeremy

Jeremy

Posted
Posted

I more or less agree with Otta. Although I think a soundtrack can have songs written specifically for the film (e.g Ghostbusters).


I would say that a soundtrack consists of "songs" which may or may not be specially commissioned.


A score is written for the film, and the music could be more accurately described as "pieces" than "songs".

Otta

Otta

Posted
  • Author
Posted

Jeremy Wrote:

-------------------------------------------------------

> I more or less agree with Otta. Although I think a

> soundtrack can have songs written specifically for

> the film (e.g Ghostbusters).

>

> I would say that a soundtrack consists of "songs"

> which may or may not be specially commissioned.

>

> A score is written for the film, and the music

> could be more accurately described as "pieces"

> than "songs".



Yes, good point.

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